Musical Folklore Research Articles

Folk games as a tool of formation of artistic and creative competence of primary school children in music classes

The article describes the features of acquiring artistic and creative competence, as a child's elementary awareness of the specifics of art forms (artistic and productive, musical, theatrical); valuable attitude to art and artistic activity, the desire to perceive folklore art. Folkloric forms of the heritage of Ukrainian culture are considered. Teaching and methodical material and practical recommendations are offered, which in music classes will be useful both to experienced teachers of preschool institutions and to those workers who are starting to work with the smallest brains. Normative documents in the field of preschool education were studied and play competence was considered as a child's ability to free, emotionally saturated, spontaneous activity on his/her own initiative, in which the possibility of applying existing and assimilating new knowledge and personal development is realized due to the child's desire to participate in the life of adults through the realization of interests in game and role-playing actions in a generalized form. The necessity of using folk games for the formation of artistic and creative competence in preschool children is substantiated. Peculiarities of knowledge of the surrounding world of preschool children and themselves in it are determined. The work proposes to create a basis for the natural formation and development of musical abilities in preschoolers through a folk game by encouraging children to play folk games. It has been emphasized that raising children is based on love and respect for Ukrainian musical folklore. The secrets of conducting music classes using folk games and working with preschoolers are recommended to teachers of primary schools, music teachers, teachers of children's vocal ensembles of extracurricular and club institutions, scientists, graduate students, students of pedagogical and art educational institutions, parents and the general public

The Mysterious Glow of the Star: Stanisław Moniuszko and Kazimierz Lubomirski

The article is devoted to the analysis of vocal works by Polish composers of the Romantic period. The article reveals the closeness of ethical and aesthetic beliefs of Stanisław Moniuszko and Kazimierz Lubomirski. It has been found that the musical education in the German tradition received by the natives of the regions of the cultural borderland gave them an impetus to serve Polish culture. In the works of both authors, there is an image of a star, which they interpret in a romantic dimension. The song ‘Little Star’ by S. Moniuszko and the song ‘Star’ by K. Lubomirski bear the imprint of Polish musical folklore. The use of elements of the national musical vocabulary clearly shows the composers’ national identity.

A. Eichenwald’s memories about G. Tukay – memoirs or fantasies?

This work belongs to a series of articles about composer Anton Eichenwald. They were published in the journal “Tatarica” in 2022-2023: “The Symphony Orchestra Concert of Oriental Music in Kazan in 1923” (2022, No. 1), “Concerts of Oriental Music in Paris” (2022, No. 2), “Anton Eikhenwald and the Kazan Office of Musical Folklore” (2023, No. 1) and “Folklore Opera ‘The Steppe' in the Perception of Our Contemporaries” (2023, No. 2). The article analyzes two memoirs about composer A. Eichenwald and his contacts with poet G. Tukay. The composer himself was named as the author of the publication “A Passionate Music Lover”, and “Chaliapin and Tukay...” was presented as retold by L. Rubinstein. Serious Tukay scholars ignored these sources. Information about the fictitious meetings of A. Eichenwald and F. Chaliapin with G. Tukay was replicated by writers, literary critics and musicologists who failed to take a critical look at the content of these “pseudo-memories.” Based on our analysis of the content of these articles and using the memoirs of Tukay's contemporaries and other documentary sources, the article proves that this material about the fictitious meetings was created by third-party authors who were ignorant of these major cultural figures' biographies.

Traditional Music of Kazakhstan in the Second Half of the 20th Century: Using the Example of Folk Song Art in the Northern Region of Kazakhstan

The historical development of folk music lays the foundations for modern compositions, the study of previous experience can help to qualitatively develop the modern musical sphere, emphasizing the uniqueness of traditional art. The main purpose of this study is to identify and analyse the characteristic features of the music of Kazakhstan, as well as to generalize the available knowledge. In the presented work, archive materials of several ethnographic expeditions of the folklore laboratory Kurmangazy Kazakh National Conservatory in the Torgai-Kostanay region, made from 1975 to 1989, are considered. It is taken into account that many widespread traditional musical cultures, representing a single integral, within themselves will have several ramifications. In this regard, Kazakh traditional music is not an isolated case, as it is currently divided into the following folk-professional schools: Sary-Arka, Jetysu, Kyzylorda and Western Kazakhstan. The name of each listed tradition is associated with territorial identification. For several years in Kazakhstani musicology, up to the present day, many researchers have been engaged in the study of the above-mentioned regional traditions. The works of the second half of the XX century were analysed, as well as the main differences and aspects of music writing. The paper identifies the influence of the main factors that contributed to the creation of the works, as well as a generalized analysis of the composers’ stylization. The study will provide a better understanding of the features and aspects of musical folklore, which helps to popularize and raise awareness of the subject.

On the Structural and Semantic Features of Nanai Songs of the Agbaba Historical Region

The purpose of the research is to study the archaic features of the Nanai musical language, which is one of the genres of authentic musical folklore of the Agbaba historical region. Agbaba is one of the ethno-cultural zones of Azerbaijan, distinguished by its diverse genre system of musical folklore. It should be noted that the Agbaba region is now part of the Republic of Armenia and has been called Amasia since 1930. Historically, this region was inhabited by ancient Turkic tribes, which played a significant role in the ethnogenesis of Azerbaijan, and until the end of the twentieth century was famous for its cultural and ethnographic traditions. Research methodology. The article analyses from the semiotic point of view the samples of one of the genres of authentic folklore of the region – Nanai. According to the author, the use of semiotic methods of analysis can help to identify archetypal patterns of samples of the Nanai genre. Based on the analysis of the fretting and metro-rhythmic features of the musical language, the general typological model of the studied genre is determined. The scientific novelty of the research is that for the first time in ethnomusicology, the semantic analysis of samples of the Nanai genre, which was an integral part of the ceremonial culture of ancient Azerbaijanis, is carried out in this article. Conclusions. Based on the collected musical and ethnographic material and the analysis, it was concluded that the peculiarities of the Nanai musical language played an important role in the semantic content of various rites, distinguished by their syncretic nature. Notably, signs of syncretism are also manifested in the peculiarities of the musical language of Nanai samples that have survived to this day. For example, some kinetic musical signs testify to the applied function of Nanai samples. This fact eloquently testifies to the fact that the Nanai genre is of considerable interest from the point of view of modern ethnomusicology.

Emigrant Songs of Ukrainians in the Context of Scientific Research of Robert Klymasz (Canada)

The purpose of the research is to analyse the genre and thematic, musical component and peculiarities of the transformation of emigrant songs from the collections of folk songs Introduction to the Ukrainian-Canadian Immigrant Folklore Cycle and Ukrainian Folk Songs from the Prairies by R. Klimasz (Canada). The research methodology is based on the principles of objectivity, systematicity and historicism, which is supported by the historical and cultural approach. The musicological, textual, stylistic, and contextual analyses are applied, which reveal the musical, literary, historical and cultural dimensions of the evolution of emigrant songs, and also allow us to identify the transformation of emigrant songs in new socio-cultural conditions. The scientific novelty of the research lies in the introduction into scientific circulation of the collections of sheet music of the Canadian-Ukrainian folklorist R. Klymasz, which contain samples of emigrant songs of Ukrainians in Canada as authentic musical folklore of Ukrainian immigrants in the context of studying the transformation of the musical folklore tradition of Ukrainians in the North American diaspora. Conclusions. The emigrant songs collected and published by R. Klymash, created among overseas emigrants, are part of the cultural heritage of the Ukrainian diaspora in North America, which consists of epic stories, song lyrics, and humorous and satirical dance songs. The folk song materials clearly demonstrate the current themes, melodic, rhythmic and harmonic aspects of the musical component, and the contexts of performance. The musical and poetic style of the songs expresses the peculiarities of the music of the western region of Ukraine with its respective linguistic dialects. Examples of emigrant folklore reflect the diachronic development of the song culture of Ukrainians in the diaspora from the creation of emigrant songs as authentic examples of immigrant folklore with gradual modification to complete assimilation into another cultural environment, which is expressed in the change of content of the works, the use of macaronic elements in the texts, and later – melodic borrowings.

THE ROLE OF FOLKLORE IN THE FORMATION OF STUDENTS’ MUSICAL FEELING IN THE MUSIC EDUCATION LESSON

The present paper reprezent an analysis of the characteristic features of naţional folklore that allow the cultivation of the musical feeling in students through the folkloric musical discourse wilthin the music education lessons. Through popular music, we offer the opportunitz tho reflect on sone earlz stages in the evolution of musical folklore. This fact can lead us to some important aspects regarding the origin of popular music, the discoverz of the charactristic features of the musical language. By cultivating musical frrlings in students during music education classes, we develop a favorable behavioral attitude towareds Romanian spirituality, expressed in its multiple historical valoues. On this value component, we take into account the human perceptive capacity, and the forms of musical manifestation. The students will be trained in music education classes, through the folkloric musical discourse, which will allow a direct development of the students personality in the national spirit.

Forms and types of accumulating the khomus culture in the conditions of the author’s cultural and educational platform: experience and search

The article identifies the forms and types of accumulating the khomus (Sakha mouth harp) culture, in particular, the experience of systematization, determination of teaching methods and intensification of efforts aimed at preserving and transmitting the traditions of khomus musical heritage. The results of the author’s project and research activities as a folklore collector, philologist, teacher and educational program developer are substantiated. The ways of preserving, developing and popularizing the performing local tradition of playing the khomus are determined, an analysis of the forms and types of organizational pedagogical work on the reconstruction of the Vilyui (Suntar) school of playing the khomus is presented. The study also examines the problem of preserving and further developing traditional culture, the functioning of the mechanism of reproduction, transformation and accumulation of the accumulated local ethnocultural heritage of the Sakha people in the khomus culture. The theoretical and methodological basis were the works of E.S. Markaryan, I.E. Alekseev-Khomus Uibaan, A.P. Bozhedonova, A.A. Grigorieva, G.S Popova, etc. The results of the study can be applied in developing the scientific foundations of the ethnocultural content of khomus performing traditions in the sections of regional cultural studies, musical folklore and Yakut traditional music, as well as in testing the conditions, forms and means necessary for the development of educational programs for a traditional school of playing the Yakut khomus.

ИННОВАЦИОННЫЕ ПРОЦЕССЫ В МУЗЫКАЛЬНОМ ФОЛЬКЛОРЕ НАРЫМСКИХ СЕЛЬКУПОВ

The article discusses the processes of development of modern musical folklore among the Narym Selkups based on the analysis of the publication “Ob tunes of Narym Selkups” (compiled by V. Tuzakova and I. Korobeynikova, Tomsk, 2015). Russian folklore and Soviet mass song are influencing the modern musical folklore of the southern Selkups, and the creativity of amateur Selkup composers (melodists) is developing. In the works of modern musical folklore, the main marker of national identity is the Selkup language. Manifestations of the “Selkup” musical style (scale, organization of melodic movement) are partially preserved, but new stylistic features come to the fore: arrangements defining the musical style of new songs, instrumental accompaniment, square structural constructions peculiar to modern music and other means of popular musical genres. Onomatopoeia of the voices of animals and birds, which are associated with the traditional taiga landscape for the Selkups and bring the “image of a place” to modern compositions, are widely used in modern folklore works. This allows us to consider the modern musical folklore of the Selkups in the light of the concept of the sounding landscapes of the Arctic.

THE SOUND ARCHIVE OF THE INSTITUTE OF ETHNOMUSICOLOGY OF THE RESEARCH SCIENTIFIC CENTER OF THE SLOVENIAN ACADEMY OF SCIENCE AND ARTS

Since the end of February 2022, Ukrainian science experienced significant disruption caused by the full-scale war launched by the Russian Federation against Ukraine. As has often been the case in the history of armed conflicts, they have significantly affected various areas of culture, art and science, including ethnomusicology and its subject of research. The exodus of scholars within the country and abroad, the relocation and risk of destruction of archives, the more difficult condition for work in the field due to the martial law, the reduction of state funding in the fields of science and education, and, at the same time, the growing demand of society for traditional culture and the emergence of new initiatives to protect and preserve Ukrainian heritage — all these facts create new realities to which researchers have to adapt and within which they have to find new approaches to scientific activity. The experience of similar crises in other countries, as well as the experience of preserving archives in general, can be very useful for domestic science. Therefore, with the beginning of the war, institutions, foundations and associations from European countries, the USA and Canada began to actively offer their help in preserving Ukraine’s cultural heritage.
 The forced migration of researchers also brought a number of advantages, namely the strengthening of international contacts, the acquisition of work experience in foreign institutions by Ukrainian scientists, the presentation of domestic science to colleagues from other countries and thus the popularization of Ukrainian culture in the world. Throughout the war, Ukrainian researchers — musicologists and cultural activists — took part in the scientific and creative processes of various institutions in Poland, Lithuania, the Czech Republic, Slovenia, Austria, Germany, the Netherlands, France, Sweden, Canada, the USA, and other countries.
 The author of the article examines the history and principles of the organization and preservation of the Sound archive of the Institute of Ethnomusicology of the Research Center of the Slovenian Academy of Sciences and Arts (ZRC SAZU, Ljubljana), having the opportunity to work directly with this collection as a forcibly resettled researcher. The article gives a brief overview of the history of the Institute as the most important ethnomusicological center of Slovenia, examines the activities of key personalities of the Institute, their role in the history of the Institute and the archive, the approaches to collecting and studying the traditional music of Slovenes and outlines the current directions of work with the digital archive. Based on these facts, a comparison is made with traditional music archives in Ukraine and an assessment is given of the possibilities of incorporating the considered methods of organization and data storage into work with domestic collections of musical folklore, taking into account the urgency of such measures in times of increased risk of loss of cultural heritage due to the war.

THE ARCHIVE OF MUSICAL FOLKLORE OF THE LITHUANIAN ACADEMY OF MUSIC AND THEATRE: "BEAUTIFUL SONG" – AN IMAGE THAT DEFINED THE DEVELOPMENT AND SYSTEM OF THE ARCHIVE

The purpose of the article reflects the discussions of the principles of musical folklore collection that were established at the Lithuanian Academy of Music and Theatre (LMTA) and which formed the basis for the content of the article. It is clarified what led to the choice of one or another method of archive accumulation, what reasons determined the filling. The aesthetic views of the workers and leaders of folklore field research, their attitude to the value and beauty of the song, which were important for the accumulation of content, are discussed. The following methods of scientific research were used: observation, comparison, experiment, measurement, abstraction. The scientific significance of the publication lies in the fact that the analyzed topics are treated for the first time in national ethnomusicology.
 The preserved content reflects the values of the urban folklore movement of the late 20th century and describes the entire singing folklore of the villagers of that era. It also partly reflects the manner and style of singing in the villages of that time. This situation was dictated by historical circumstances, by the endeavor of the participants in the folklore movement to resist Soviet reality.

GENERAL ASPECTS OF CRITICISM OF CONTEMPORARY FIELD RECORDINGS OF UKRAINIAN MUSICAL FOLKLORE

This paper emphasizes the need for a critical attitude towards audio materials obtained during folklore fieldwork and argues for the need to check / validate the audio materials documented in the field in terms of their reliability, completeness and compliance with the norms of the studied ethnomusical culture. «Attention zones», potentially dangerous in terms of possible bias of information at various the stages of its processing (fixation – funding – study – publication) have been identified. The factors that are the key to correct reading and appropriate scientific interpretation of field recordings were identified.
 The last period of collection of Ukrainian musical folklore is characterized (from the point of view of methods used, collecting skills and the state of preservation of the ethnomusical tradition).
 The main perspectives and methods of critical analysis of contemporary field recordings are presented – both at the level of a single piece or even its elements, and at the level of a larger or smaller field of information.

PROFESSOR HRYHORII LEVCHENKO’S PERSONALITY PHENOMENON

The article reveals Professor Hryhorii Levchenko’s (1933-2022) personality phenomenon, who was a teacher, choirmaster, composer, researcher of national musical folklore, public figure, founder and artistic director of the Ukrainian folk choir “Kalyna” of the Poltava V. G. Korolenko National Pedagogical University (1979-2022). The author has shared her own memories of the pedagogue-artist, summarized the forty-year experience of her cooperation with H. Levchenko, and convincingly proved the unique integrity of his bright personality. The phenomenon of the artist’s personality is based on three defining values: Ukrainian folk song, mother tongue, and Ukraine. It is also characterized by his unique personal qualities. It is emphasized that the artist saw his mission in the preservation, development, and popularization of the national song culture, which he successfully implemented in his multifaceted activities: organizational, educational, upbringing, methodical, artistic, and scientific. In each of them, the professor vividly demonstrated a creative approach. The result of the implementation of the creative approach is the author’s educational manuals and musical works, arrangements, and processing of Ukrainian folk songs, original pedagogical, artistic, and managerial methods, techniques, and tools, as well as a unique system of educating the future teacher. They are waiting for further understanding, generalization, and theoretical analysis.

Folklore opera “The Steppe” in the perception of the contemporaries

This work continues a series of articles about the composer Anton Eichenwald, published in the “Tatarica” Journal in 2022-2023: “Symphony Concert of Oriental Music in Kazan in 1923” (2022, No. 1), “Concerts of Oriental Music” in Paris (2022, No. 2), “Anton Eichenwald and the Kazan Cabinet of Musical Folklore” (2023, No. 1). Based on the archival materials, our study systematizes information on the history of creation and production of his opera “The Steppe”. We prove that the composer A. Eichenwald undertook this work in order to give a new life to his arrangements of Tatar folk songs.

Hierarchical data model to digital repository: Transition Stage in Organiz- ing the Ukrainian Musical Folklore Collection of the Kyiv Laboratory of Ethno- musicology

Due to the extraordinary value and uniqueness of folklore materials in the Ukrai- nian archives and private collections of scholars, preserving these materials is an ex- tremely important task, especially in the context of Russian aggression in Ukraine. Modern digital technologies open up new opportunities for the preservation, research, and dissemination of Ukrainian musical folklore. However, in order to effectively utilize these opportunities, it is necessary to develop completely new approaches to the creation of digital audiovisual archives. Despite the fact that the possibility of fully implementing such projects in the future is rather difficult due to limited techni- cal and financial resources, the possibility of easy access to the materials of folklore collections can be organized using existing approaches by optimizing them. The article analyzes the current state of the analog and digital collection of Ukrai- nian musical folklore in the Kyiv Laboratory of Ethnomusicology (officially known as the Problematic Research Laboratory of Ethnomusicology of the Ukrainian Na- tional Music Academy). The article also highlights the main features of the musical folklore collection organization and the problems that arise when working with them. Author proposes the idea of introducing a transitional stage in the organization of musical folklore collections, which would allow to prepare more effectively the tran- sition to the new type of archives and solve a number of existing problems in the current challenging conditions.

From the History of Early Expeditions of Musicologists from the Gnesins’ Institute to the Russian North (1950–1970s)

The article presents a brief excursus into the history of the folk music expeditions organized by music scholars from the Gnesins’ Institute to the Russian North. The beginning of the expeditionary study of the Northern Russian territories and the formation of a fund of musical and ethnographic materials on this region dates back to the creation of the Cabinet for Folk Music at the Gnesins’ Institute (1958). Its leader was the famous folklorist Vladimir Kharkov, who during the time period between the 1950s and the 1970s determined the routes and methods of expeditionary work. Since 1959, under his leadership, the traditions of the Kirov Region have been collectively and systematically studied. Individual expeditions were sent to other northern Russian areas with the participation of musicologists specializing in musical folklore: Igor Istomin explored the basins of the rivers Northern Dvina, Vaga, and Mezen (in the Arkhangelsk Region), while Ksenia Bromley explored the upper Volga region. The prominent national ethnomusicologist Evgeny Gippius played an important role in the study of the folk music traditions of the Russian North by the scholars of the Gnesins’ Institute. Since the mid-1960s, he supervised the expeditionary and scholarly work of Borislava Efimenkova on the study of the lamentation culture of the eastern Vologda region, in the 1970s he initiated the expeditions of Evgeniya Reznichenko on the Onega River in the Arkhangelsk region, which ended with the discovery of the traditions of Pomorye. The continuous research of these territories and the mass recording of the material has made it possible to carry out the structural-typological and arealogical interpretation of the Vologda and Pomorye traditions of lamentations. The most important result of the early expeditions of the musicologists from the Gnesins’ Institute to the Russian North were the published collections of folk music of various genres and many scholarly studies, including dissertations, on the traditional culture of the region.

National theater in the aspect of M. D. Leontovych’s pedagogical activity in Tulchyn

Modern complex socio-economic and cultural processes of development of the country are directed at radical renewal of Ukrainian society. The promising gradual development of the latest currents in the field of primary education in Ukraine has always been an important step for the native music and pedagogical science, because in order to use new technologies in practical activities, scientists need to consider in detail, analyze, systematize and adapt the past pedagogical experience of outstanding Ukrainian teachers-musicians. The problem of using the means of theatrical art in the practice of the modern school, which, according to Leontovych, contributes to the formation of important life values and active aesthetic activity, especially in younger schoolchildren, is topical in today's education.
 Turning to the national traditions of the past experience of the theatrical aspect in the pedagogical activity of the teacher M. Leontovych is directed at the spiritual revival of the creative activity of the individual. The essence of the concepts of theatrical art, theatrical activity, theatrical play at school has been clarified; the main types of theatrical performances are given; the most used methods of stage adaptation are considered and the necessity of their use in classes is argued. Thanks to the universalism of the choral theater dramatization method, the teacher revealed the creative inclinations of students in the formation of individuality. Aspects of many creative studies on theatrical pedagogical activities of M. Leontovych require detailed study and innovative approaches in connection with current problems of music pedagogy, musicology, and music folklore.
 The use of the aspect of theatrical art in regular music classes had a significant potential for the harmonious aesthetic development, especially of younger schoolchildren. The teacher in practice proved the evolutionary significance of theater and choral pedagogy (which has an analytical and synthetic character) and revealed the possibilities of influencing the emotional and sensory sphere of the student, equating theatrical art to children's play. The highlighted methods of M. Leontovych show that during the play the independent expression of personality is mostly manifested, and with the help of the group nature of theatrical activity, the emotional impact is enhanced, which inextricably goes along with inspiration, joy, and a sense of unity for the sake of a common cause.
 Based on the analysis of M. Leontovych's pedagogical activity, it can be determined that the artist stood at the origins of children's theatrical choral art in Podilla at the beginning of the 20th century in the context of socio-cultural integration of Ukraine, but it has been proven a priori that the modern process of education is not yet sufficiently studied and needs further in-depth understanding

Vztahy mezi literaturou a hudbou v díle Gustawa Morcinka

The study is devoted to the interdisciplinary relationship between literature and music in the work of the most popular Polish writer from Silesia, Gustaw Morcinek (born Augustín Morcinek, August 24, 1891 in Karviná, Austria-Hungary – December 20, 1963 in Krakow, Poland). In his rich literary work for adults as well as for children and young people, while it is mainly prose, less often drama (he did not devote himself to poetry), we find inspiration in musical folklore (mainly Silesian, exceptionally Moravian and Slovak), also in popular and classical music. The music in Morcinek’s work serves, among other things, to better characterize space and time, character traits of the characters, and capture the overall mood of the literary work or part of it. In our study, we are methodologically based primarily on the works of the Polish comparatist Andrzej Hejmej, who has been theoretically devoted to the relationship between literature and music for a long time.

Song-Writing Style of Bohdan Yanivskyi: Inspirations, Intentions and Text Eminence

The purpose of the article is to outline the style of songs written by B.-Yu. Yanivskyi for his collection “Vyshneva Vikhola” (“Cherry Snowstorm”) for solo and duet performance considering their inspirations, intentions, and means of musical-and-verbal interaction through the optics of the category of the “eminent text” (according to H.-G. Gadamer), as well the socio-cultural terms of the époque. The methods of the studies are based on the integration of the philosophic and art-studies approaches which help to highlight the eminent characteristics of the samples of the composer’s pop-song creativity. System-analytical, intermediate, typological methods of music-poetry studies of the song components in dialogue and, sometimes, polylogue interactions of music, poetry, and borrowed theatre techniques have been applied. Methods of generalisation and reflection enabled the author to trace the inspirations and intentions of B.-Yu. Yanivskyi’s appeals to entertaining music in the time of the Soviet Union. The scientific novelty of the research lies in an attempt of the contextual and intermediate analysis of the songs of the “Vyshneva Vikhola” collection, as the eminent texts. Conclusions. B. Yu. Yanivskyi’s professionalism of a composer, pianist, and concertmaster contributed to the creation of the artistically perfect samples of the pop-song genre. Vocal and piano parts make the suggestive potential of the poetic background more distinct and, at the same time, enrich them in an intermediate and eminent ways. Inspirations of B.-Yu. Yanivskyi’s song-writing style-formation were the national and local musical folklore, Galician traditions of song-entertaining genres and types of music-making, which absorbed the elements of song-and-dance art of other countries, along with preserving their unique features. Composer’s intentions were to popularise the entertainment songs of that time and to prove, that Ukrainian pop-song can be self-sufficient, that it can preserve the national identity at the same time organically reinterpreting the best of the Western heritage. Pop-music semiosis of B.-Yu. Yanivskyi embrace a wide range of intonation-rhythmic, harmonic, and textural marks of various genesis, which altogether make up the unique style of the author.
 Keywords: composer B.-Yu. Yanivskyi, pop-song genre, intermediality, eminent text, song, duet, piano part.

Rustem Yakhin. Music for children: on the question of the embodiment of the national

The article reviews the children’s music of the outstanding Tatar composer Rustem Yakhin. Three piano cycles (“Three Pieces”, “Pictures of Nature”, “Summer Evenings”), individual children’s pieces and arrangements of folk songs are analysed. A characteristic feature of Yakhin’s work is the synthesis of European traditions with elements of Tatar musical folklore. The characteristics of the implementation of the national style in children’s music are considered. The originality of the melodic, rhythmic and harmonic structures chosen by the composer is emphasized.